From the orthodox to the new school and later the “beyond-new” school, there has been a genealogy of Taiwan’s martial arts fiction of its own; nevertheless, the continuity between periods of Taiwan’s martial arts fiction seems far from fully revealed by the academy research. In this thesis, the very concern shared by different periods of Taiwan’s martial arts fiction is about to pass through critical analysis, and therefore pave the way for the revelation of the development of such a genre with keys as follows: lyricism, violence, and subjectivity. Generally speaking, what we can see in Taiwan’s martial arts fiction is more or less how this genre tends to lyricism, violence, and subjectivity, and the ensemble even makes descents upon the narration, upon the order of representation thus. In comparison with that in science fiction or thriller, such ensemble in Taiwan’s martial arts fiction is one of a kind, and worth further studying for sure.